John Mulvey

The 32nd Uncut Playlist Of 2014



The 32nd Uncut Playlist Of 2014

Such has been the drooling media focus on Kate Bush this week, it might be tough to imagine British music journalists listening to anything else these past few days. I'm not, in fairness, exempt from the hysteria: here's my review of the second Before The Dawn show, in case you missed it (or avoided it) yesterday.


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John Mulvey

Reviewed: Kate Bush, Hammersmith Apollo, August 27, 2014



Reviewed: Kate Bush, Hammersmith Apollo, August 27, 2014

There is a song on "Aerial", Kate Bush's eighth and possibly best album, called "Bertie". "Here comes the sunshine," it begins, "Here comes that son of mine/Here comes the everything/Here's a song and a song for him." Nine years later, here, perhaps is a show for him: an unexpected comeback; a ravishing absurdity; a launchpad for his theatrical aspirations. Our pleasure may, to some degree, be collateral.


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John Mulvey

Inside the new Uncut...



Inside the new Uncut...

Vile day here in London, improved to some degree I'd hope by the arrival in UK shops of the new edition of Uncut. It has Nick Drake on the cover, as you probably know if you're a subscriber and your copy arrived over the weekend.


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Michael Bonner

First Look - Finding Fela



First Look - Finding Fela

It's a satisfyingly busy time for music films at the moment. The excellent Nick Cave documentary, 20,000 Days On Earth, is upon us; following swiftly in its wake are biopics of James Brown and Jimi Hendrix.


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John Mulvey

The 31st Uncut Playlist Of 2014



The 31st Uncut Playlist Of 2014

Some logical excitement here this week about the impending Leonard Cohen and Aphex Twin albums; in the event you've missed it these past couple of days, you can hear Cohen's superb "Almost Like The Blues" further down this blog.


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John Mulvey

The return of The Aphex Twin, and Caustic Window



The return of The Aphex Twin, and Caustic Window

Last year, Warp Records embarked on a campaign for Boards Of Canada's "Tomorrow's Harvest" comeback that was notable for its obtuseness. Unmarked 12-inches were hidden in record stores, strings of numbers and inexplicable broadcasts were strewn enigmatically across the internet. At one point, I recall some talk of red moons and feverish online triangulations pointing to a bookshop near Edinburgh as the centre of the universe. It was all fun, and the album at the end of it all was great, but perhaps it wandered a little off course as it went on.


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Michael Bonner

The Thurston Moore Band, Café Oto, London, August 14, 2014



The Thurston Moore Band, Café Oto, London, August 14, 2014

“Thank you, Boston,” deadpans Thurston Moore as the audience at tonight’s gig show their appreciation for “Speak To The Wild”. Of course, we’re in east London – Dalston to be precise, at Café Oto, which has become a regular hang out for Moore since he moved up the road to Stoke Newington.


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John Mulvey

“When the sun goes down, it’s different here.” An interview with Hurray For The Riff Raff



“When the sun goes down, it’s different here.” An interview with Hurray For The Riff Raff

This is the full text of my interview with Hurray For The Riff Raff in New Orleans, that appeared in the print edition of Uncut a couple of months ago. I've added a lot of music to listen to as you read; not just by Alynda and the Riff Raff, but by some of the other New Orleans musicians who are critical to the story.


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John Mulvey

The 30th Uncut Playlist Of 2014



The 30th Uncut Playlist Of 2014

Another issue in the bag yesterday, which'll be in UK shops on August 26, and which features, if you're in the mood for guessing games, someone who's never been on our cover before.


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John Mulvey

Richard Thompson, Television, Chris Forsyth and a pretty amazing playlist...



Richard Thompson, Television, Chris Forsyth and a pretty amazing playlist...

As you've hopefully seen now, this month's issue of Uncut has a revealing piece about Richard & Linda Thompson's "I Want To See The Bright Lights Tonight", timed to tie in with that great album's 40th anniversary and its vinyl reissue, plus a burst of Thompson activity that includes a show at the End Of The Road Festival at the end of the month. "It is what it is and I like what it is," he calls the album in the piece, somewhat self-effacingly, "and there's a lot of stuff out there that I've done that I like less. That being said, it sold about 30 copies."


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Editor's Letter

D'Angelo's "Black Messiah": some first thoughts


When Thom Yorke sneaked out his new solo album a few months back, I managed to hold out for 66 hours before writing a review of "Tomorrow's Modern Boxes". Since waking up...